In Conversation with Bronte Frances – How To: Break a Chair
In this edition of In Conversation, we shine a light on How To: Break a Chair—a new show by Bronte Frances, premiering at The Blue Room Theatre from 14 to 25 October. How To: Break A Chair is about finding hope and humour in a world that keeps falling apart — where doors stick, bills pile up, and a lamp and a chair have to hold everything together. Blending poetry, visual art, community engagement, and comedy, it offers a playful yet poignant reflection on resilience and collective imagination. We caught up with Bronte Frances to dive into the creative process behind the work and what audiences can expect from this thrilling new production.
What motivated you to apply to be part of The Blue Room Theatre’s 2025 season, and what drew you to this project?
How To: Break a Chair has been slowly made over the years – its original inception was actually performed at The Blue Room Theatre in 2023! After all this time, the work naturally shifted and evolved, but still remained rooted in this core concept of microanxieties, crisis, and collapse. It was unbelievable how these themes became increasingly relevant. Yet, after all this, what has continually driven and sustained my involvement in the project has been the people and the process. In storms and stress, the work was like a safe harbour.
As for The Blue Room of it all, there’s no place in Australia – especially not Perth – that captures the independent magic of art and community like The Blue Room does. I have been lucky enough to work with them a couple of times now, and each time has been underpinned by so much support and generosity that there’s nowhere more suited to sharing this work than The Blue Room.
How has the creative journey been so far—from concept development to rehearsals?
It’s been really fulfilling. I have been so sustained by the collaborative devising process and how it has. It started with a small group of artists and slowly grew into the team we have today. There have been challenging moments, for sure, as there always is in a world without enough time, money, or space, but realising a vision over such a long period has been one of the most creatively satisfying experiences of my career.
What has stood out to you during the rehearsal process—any unexpected discoveries or moments of growth?
Joy. It’s easy to get caught up in the output sometimes; however, being in the room with Zoe, Anja and Talia was so enriching. It felt like such a safe space to play, explore and fail gloriously.
How has the collaboration with your cast, crew, and creatives shaped the work and your vision for it?
I think the key to any theatre making is creating an environment filled with the right people. Every single person on our team has played a vital, genuinely lasting role in shaping the work audiences see, and that was no accident. With shifting creative teams throughout the process, we had the amazing opportunity to constantly interrogate what we had and ask ‘what if?’ Luckily, we had a team that was so well equipped to reflect and respond with kindness and generosity. Seeing this in full swing during production week was immensely exciting, and I think this unique synergy is really evident in every moment.
What does having your show programmed in The Blue Room Season mean to you as a lead creative?
There’s truly no other arts organisation in Boorloo that offers the level of trust, belief, and support to its artists that the Blue Room does. It’s a hub for independent creativity and innovative art that both welcomes and expects new ways of thinking and making. The work’s programming was such a significant career milestone that it made independent art careers feel more accessible and genuinely within reach.
As you move closer to opening, what are you most excited—or even nervous—about sharing with audiences?
I’m just excited to share the work as a whole. It’s post-dramatic, so the work exists in this very holistic manner. While we zero in on some really awesome scenes and moments, I can’t wait to hear how the audience responds to all the elements working together. At the start of the show, we ask the audience to just let the show wash over them. I’m keen to see how that primes the work. For a specific moment, though, our ending is one of the newest additions to the work, and I’m incredibly proud of the work that we do. The feeling we hold there is really special, and I’m keen to see it ripple through the audience.
What is your show bringing to the Perth arts scene, and what do you think would help strengthen the local arts ecosystem?
I think the work exists in an interesting space of form. Perth has a really prominent text-based community of arts organisations, and some really amazing contemporary dance work, but the text-based poetry combined with the movement work that we’re doing feels really kinetic and unique. Our arts organisations are in a space of real uncertainty, and I think this can permeate their art-making, making it safe to keep audiences reliable and as consistent as possible – but art grows and responds alongside the world. I think pushes and pulls toward convention aren’t just helpful; they’re necessary for creating sustainable arts communities.
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